Your Lie in April

Music is emotion. Emotion is human.

What a beautifully done show. As I write this I finished the last episode some ten, fifteen minutes ago, and I watched the first episode little over 24 hours ago. My eyes are killing me, staring at a computer screen now without bias lighting, but I’d like to finish this while the memories are still fresh.


Your Lie in April was recommended to me by a friend about a year and a half ago; in fact, it may have been one of our first conversation topics ever. She calls it Shigatsu, which is how I will refer to it here on out. Its premise is sweet, poignant, and…sad. It is entirely an emotional show, using music as a way to enhance its story and ways of conveying different feelings. In fact, it’s emotional on both sides of the spectrum; there are many uses of slapstick, physical comedy, likely as a foil to the dark and deep themes explored by the show and to prevent everything from becoming too depressing.

For the show is quite depressing. It is, at its core, a love story. Specifically, two love stories. The overarching tale of Kousei and Kaori exploring their love/hate, uniquely close, pestering relationship with each other is present throughout the entire series, but I believe the familial love through loss and suffering present throughout the first half of the series to be more powerful. I will admit, Kousei’s farewell performance to his mother moved me to tears, exacerbated and immensely supported by the masterful matching of poignant scenes to climaxes in the music. Every single performance in the show meant something, and every single performance was – at its core – a love letter. The gorgeous art style, reminiscent to me of the beauty in your name. (I saw your name. before Shigatsu; sue me), was instrumental in really evoking those feelings of pain, suffering, love, and resolution, and the brilliant color pallet allowed the audience to see the world in color.

Shigatsu‘s strongest part, though, in my opinion, must be the entire Kousei-Kaori dynamic developed throughout the show’s runtime, even past the love story and even when the characters are separated. We hear from multiple characters how Kousei’s first performance onstage inspired them to start music, creating friends/rivals for life, yet for much of the 22 episodes we see Kaori being a leader figure to Kousei, drawing him out from his self-loathing and out from his mother’s shadow, allowing him to feel the music instead of merely playing it. We see Kaori’s outward strength hiding an inner desire of being remembered, and of Kousei’s development into an emotional musician, drawing on his memories – good and bad – to perform sincerely straight from the heart. We see how both characters rely on each other for support – sometimes physically, sometimes emotionally – and how both develop into strong individuals, yet with parts of each other permanently inside them. The development is painful, but at the end of the show both shine brightly, as Chopin’s Ballad no. 1 plays while Kousei performs one final, farewell duet with an apparition of Kaori. I believe this is the real moment the show truly ends, even though Kousei converses with Kaori’s memory in the second half of the final episode. I think this dream-like performance is Kousei’s true goodbye to Kaori, acknowledging the growth they shared together.

Of course, in being emotional such a show needs to take things at the right pace. Sometimes that means getting down and specific with details, allowing the character to grow and flourish. Unfortunately, this sometimes has the somewhat negative effect of bogging down the pacing. Shigatsu, in trying to drive home Kousei’s self-tormenting in reliving the worst memories with his mother – and later finding support in repeating all of Kaori’s good ones – is fairly heavy-handed with recaps and memories, even jumping all over the timeline if it means expanding on a character’s backstory. Perhaps such an effect was intended, allowing us to stand in Kousei’s shoes as his story went on, but there were times where I felt the emotional impact was marred slightly by this redundancy.

Ultimately, though, such times were short-lived (though the ~5-episode long piano competition in the middle really could have been shorter), and the show ended gorgeously, as Kousei and Kaori perform their first – and last – proper duet together, in a scene of great beauty, resolved to the pain of death and loss even as all that emotion is poured into one final, soulful performance. I notice how the show effectively ends there, despite having ten more minutes or so, with Kousei freely crying at the end of his farewell onstage. Emi and Takeshi do not make a final appearance, the competition results are not revealed, and nothing is mentioned of the middle schoolers’ futures. We don’t even get to see the audience’s reaction. I take this to mean that such trivial things are unimportant; the lifeblood of Shigatsu is emotion, and Kousei’s final performance was cathartic as he processed his own, performing for the people that mean everything to him.

For music is emotion. Music is the universal language, for it does not need to be translated to be understood. Music transcends human speech, connecting two human hearts directly through the instinctive understanding of emotion conveyed through melody and harmony. Music is emotion.

And emotion is human.

Author: reckless150681

I'm currently a sophomore in college, working towards a dual degree in music and mechanical engineering. I play a number of instruments, and I'm usually writing about video games.

3 thoughts on “Your Lie in April”

  1. This was a really beautiful anime. It had a few pacing issues and some of the other characters could have been better developed but it really is an emotional experience and one well worth watching. Thanks for sharing.


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